Chapter_26_6e

Chapter_26_6e - Chapter 26: Romantic Opera Chapter 26:...

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Unformatted text preview: Chapter 26: Romantic Opera Chapter 26: Romantic Opera Italy Italian Bel Canto Opera Literally means “beautiful singing” Emphasizes beautiful vocal melodies Little or no counterpoint Orchestra provides simple harmonic support Italian Bel Canto Opera Exalted the leading operatic singers Soprano normally the heroine Called the prima donna or diva (goddess) Italian Bel Canto Opera Perfectly exemplified in the operas of: Donizetti Bellini Rossini Barber of Seville William Tell Strong influence on Verdi and Puccini Giuseppe Verdi (1813­1901) Reputation Most popular opera composer throughout Europe His operas performed more than any others Giuseppe Verdi (1840s) First opera Oberto (1839) Early operas Dramas support political revolution and freedom His name a political slogan Viva VERDI (Vittorio Emanuele Re d’Italia) Promoted a united Italy Giuseppe Verdi (early and mid­1850s) Dramas turned to domestic themes and personal conflict Some of his most famous compositions 1851 Rigoletto (La donne è mobile) 1853 La traviata 1853 Il trovatore (“Anvil” chorus) Called this period “my years as a galley slave” Giuseppe Verdi (late 1850s­1893) Now very wealthy Only composed for two reasons Personally interested in the drama Offered an enormous fee 1871 Aida paid 150,000 francs ($670,000) Last two operas based on Shakespearean dramas 1887 Otello 1893 Falstaff Giuseppe Verdi: Dramaturgy Conflict—personal or national—the root of every emotion Clear expression of emotion Emotional states almost melodramatic Giuseppe Verdi: Musical Style Intense passion and nonstop action Recitativo accompagnato Orchestra accompanies the recitative Smooth transitions between recitative and aria Arias push singers to the utmost of their range La traviata (1853) Title means The Woman Gone Astray Based on a story by Alexandre Dumas the younger Known in English as Camille Based on the author’s personal experience Pits passionate love against middle­class morality Violetta based on Marie Duplessis* Died from tuberculosis at 23 Violetta’s difficulties parallel those of Giuseppina Streponi Act I, Scene 6 A scena Slow aria (“Ah fors’è lui”) Recitativo accompagnato (“Follie!”) Cabaletta (“Sempre libera”) A fast­paced concluding aria Allows character to rush off stage Virtuosity serves a dramatic purpose ...
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This note was uploaded on 01/10/2012 for the course MUS 1751 taught by Professor Harris during the Summer '08 term at LSU.

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